当代“艺术表现论”的革新——以“分析美学”为考察中心

Reform of Contemporary Art Representstion Discourse:Taking Analysis Aesthetics as the Centre

当代的"艺术表现论"已经更新换代,文章以"分析美学"作为视角,对于当代的艺术表现问题的核心方面进行考察和研究。英国美学家理查德·沃尔海姆批驳了传统的表现论,并试图给予"表现性"以更新的内涵。这位英国分析哲学家更多是从"心灵生活"的角度来阐释"表现性"的,这就同传统意义上的表现理论划开了界限。另一外美国美学家纳尔逊·古德曼不仅给出一种还算全面的"例示性的艺术定义",而且认定表现就是一种"隐喻性例示"。新西兰美学家斯蒂芬·戴维斯以音乐分析为例,表述了一种全新的多维"音乐意义"观念,得到了普遍的关注与赞同。这意味着,戴维斯提供出了一整套的"意义类型学"。以美国美学家彼得·基维为代表的"认知—情感"表现理论,始终强调的是在人类表现各种情感时的形态与声音,与音乐所表现相应的情感状态之间,无论是从听觉效果还是描述方式上看都具有直接的相似性,这其实就是"轮廓表现理论"的真义。类似的表现论主张在分析美学那里也逐渐占据了主导之势。总之,艺术表现论取决于如下两个相互联系的假定:一是艺术家所做的事情之一就是表现他们的感情;二是这种表现是审美价值的源泉之一,当代分析美学家对于艺术表现论的革新做出了重要的贡献。从东方美学与艺术理论的角度,我们可以对其得失进行公正的评判,从而来重构一种既具有"新的中国性"又拥有全球性特质的当代艺术表现理论。

Art is an expression of human feeling is regard as a basic definition for art in western tradition. But in con- temporary analytic aesthetics, there are a great development of art expression theory today. From Richard Wollheimg a new interpretation for art expression theory in his mind philosophy, it begins a new understanding of expressive qual- ity for art. Nelson Goodman not only gives a new art definition from exemplification, but also think art expression as metaphorical exemplification. Stephen Davis presents a whole typology of meanings, and he focus on the expression of music meanings. Peter Kivy~ art expression theory is behalf of the Cognitive - emotive theory, and his special contour theory plays an important role in it. On the basis of analytic aesthetics＇new extension, we can construct an art expres- sion theory with neo - Chineseness in the context of globalization.